<p>Although we live in a society abundant with images, the subject of illustrations in scientific communication seems to have become a blind spot. The study of scientific communication is an interdisciplinary field, where written and visual language is studied separately from one another. The aim of this master thesis is to break with tradition and look at the use of illustrations, their form and frequency, in a random selection of Swedish contemporary doctoral theses to make an attempt to explain why some scholars do not use illustrations as much as others. The found graphics are discussed in their faculty and departmental context, and the aspects of page design, electronic availability, and publishing tradition are also included in this discussion. By looking at some activities surrounding the author of a doctoral thesis, such as writers’s manuals, computer graphic tools, and the role of librarians, proof was found to support a genre and activity theory, as described by Charles Bazerman. This study presents an overview of illustrations occurring in dissertations in a way that was not done before, opening up for further studies about the form and function of scientific illustrations as important carriers of information.</p> / <p>Fastän vi lever i ett samhälle som är översvämmat av bilder verkar vetenskapliga illustrationer vara ett ämne som förblivit ett slags blind punkt. Studierna av vetenskaplig kommunikation är ett interdisciplinärt område där det skrivna och visuella språket behandlas var för sig. Målet med denna D-uppsats är att bryta detta mönster och att undersöka bruket av illustrationer i en tillfälligt utvald samling svenska moderna avhandlingar för att se om det går att förklara varför en del forskare använder färre bilder än andra. De funna illustrationerna diskuteras i deras fakultets- och institutionssammanhang, och aspekterna sidutseende, elektronisk tillgång och utgivningssätt lyfts fram. Genom att titta på en del aktiviteter som omger författaren till en dissertation, som t.ex. skrivhandledningar, verktyg för datorgrafik och bibliotekariens roll, kunde bevis hittas för den genre- och aktivitetsteori som beskrivits av Charles Bazerman. Studien presenterar en översikt av förekommande illustrationer i doktorsavhandlingar som inte gjorts förut och öppnar vägen för nya studier om vetenskapliga bilders utseende och funktion som viktiga informationsbärare.</p>

Although we live in a society abundant with images, the subject of illustrations in scientific communication seems to have become a blind spot. The study of scientific communication is an interdisciplinary field, where written and visual language is studied separately from one another. The aim of this master thesis is to break with tradition and look at the use of illustrations, their form and frequency, in a random selection of Swedish contemporary doctoral theses to make an attempt to explain why some scholars do not use illustrations as much as others. The found graphics are discussed in their faculty and departmental context, and the aspects of page design, electronic availability, and publishing tradition are also included in this discussion. By looking at some activities surrounding the author of a doctoral thesis, such as writers’s manuals, computer graphic tools, and the role of librarians, proof was found to support a genre and activity theory, as described by Charles Bazerman. This study presents an overview of illustrations occurring in dissertations in a way that was not done before, opening up for further studies about the form and function of scientific illustrations as important carriers of information. / Fastän vi lever i ett samhälle som är översvämmat av bilder verkar vetenskapliga illustrationer vara ett ämne som förblivit ett slags blind punkt. Studierna av vetenskaplig kommunikation är ett interdisciplinärt område där det skrivna och visuella språket behandlas var för sig. Målet med denna D-uppsats är att bryta detta mönster och att undersöka bruket av illustrationer i en tillfälligt utvald samling svenska moderna avhandlingar för att se om det går att förklara varför en del forskare använder färre bilder än andra. De funna illustrationerna diskuteras i deras fakultets- och institutionssammanhang, och aspekterna sidutseende, elektronisk tillgång och utgivningssätt lyfts fram. Genom att titta på en del aktiviteter som omger författaren till en dissertation, som t.ex. skrivhandledningar, verktyg för datorgrafik och bibliotekariens roll, kunde bevis hittas för den genre- och aktivitetsteori som beskrivits av Charles Bazerman. Studien presenterar en översikt av förekommande illustrationer i doktorsavhandlingar som inte gjorts förut och öppnar vägen för nya studier om vetenskapliga bilders utseende och funktion som viktiga informationsbärare.

My Interdisciplinary dissertation examines illustrations in manuscripts and early print sources and reveals their participation in the transmission and reception of Old Norse mythology. My approach encompasses Material Philology and Media Specific Analysis. The reception history of illustrations of Old Norse Mythology affects our understanding of related Interdisciplinary fields such as Book History, Visual Studies, Literary Studies and Cultural Studies. Part One of my dissertation begins with a discussion of the tradition of Old Norse oral poetry in pagan Scandinavia and the highly visual nature of the poems. The oral tradition died out in Scandinavia but survived in Iceland and was preserved in vernacular manuscripts in the thirteenth century. The discovery of these manuscripts in the seventeenth century initiated a cycle of illustration that largely occurred outside of Iceland. Part One concludes with an analytical survey of illustrations of Old Norse mythology in print sources from 1554 to 1915 revealing important patterns of transmission. Part Two traces the technological history of production of digital editions and manuscript facsimiles back to the seventeenth century when manuscripts were hand-copied and published by means of copperplate engravings. Part Two also discusses the scholarly and cultural prejudices towards images that are only now slowly fading. Part Two concludes with a description of my prototype for a digital image repository named MyNDIR (My Norse Digital Image Repository). MyNDIR will facilitate the emergence of images of Old Norse Studies from the current informal crowd sourcing of material on the web to a digital image repository supporting the dissemination of accurate scholarly knowledge in a widely accessible form. Part Three presents two thematic case studies that demonstrate the value of applying the skills of visual literacy to illustrations of Old Norse mythology. The first study examines Jakob Sigurðsson’s illustrations of Norse gods in hand-copied paper manuscripts from eighteenth-century Iceland. The second study examines illustrations by prominent Norwegian artists in the editions of Snorre Sturlason: Kongesagaer published in 1899 and 1900 respectively. What emerged from these studies is an understanding that illustrations offer insights for the study of Old Norse texts that the words of the texts alone cannot provide. / Graduate / 0362 / 0377 / 0279 / pabaer@uvic.ca

TIMBÓ, Margarida Pontes. De borregos enjeitados a bichos miúdos: ilustrações da infância do romance brasileiro de 30. 2016. 267f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza, 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-11-03T17:11:06Z No. of bitstreams: 1 2016_tese_mptimbo.pdf: 4838240 bytes, checksum: 7dc4dc7bf0496224ae5e68dbecfd7ca0 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-11-07T11:17:50Z (GMT) No. of bitstreams: 1 2016_tese_mptimbo.pdf: 4838240 bytes, checksum: 7dc4dc7bf0496224ae5e68dbecfd7ca0 (MD5) / Made available in DSpace on 2016-11-07T11:17:50Z (GMT). No. of bitstreams: 1 2016_tese_mptimbo.pdf: 4838240 bytes, checksum: 7dc4dc7bf0496224ae5e68dbecfd7ca0 (MD5) Previous issue date: 2016 / In this work I intend to mark the presence of childhood and family notions in four novels from the 30’s Romance in the Northeast. They are: A Bagaceira (1928), by José Américo de Almeida; O Quinze (1930), by Rachel de Queiroz; Menino de Engenho (1932), José Lins do Rego; Vidas Secas (1938), by Graciliano Ramos. The work is projected through a reading of childish images, focusing on the character’s relationship (or the narrator’s when he reports his childhood) with his family. It itends to be another way of inflexion, adding a new way of reading in respect to the interpretation of the referred novels, which are looked most of time through the view of the telluric literature, and that of social function, including the par textual apparatus, They are represented by the illustrations in the covers of the books, which embodies different periods and editorial publications. The 30’s was really fructifull to the Brazilian Art and Literature, and the first artistic illustrations printed in the covers of the novel’s editions appear in this period. The inner illustrations appear in post editions, specifically from the 6th one on. As the covers and illustrations are iconic ‘manifestations’ that work as par text (GENETTE, 2009), they also use the inner illustrations created by the artists Candido Portinari, Aldemir Martins e Poty Lazarotto as corpus. The theoretical and bibliographical research is based on the reading of the critical fortune of the novels, according to Bueno (2006), Castello (1961a), (1961b), Montello (1983), among others. She is also in accordance with Genette (2009), Lima (1985), Linden (2011), Nikolajeva e Scott (2011). These workers who study the illustration and its relation with the literary text, and, finally, is based on Ariès (2006), Badinter (1985), Coutinho (2012a), (2012b), Corazza (2004) and others who study relative themes to the childhood, and to the family. I intend to verify that, starting from sociological readings, it is possible to investigate the child character’s through the idea of abandonment. This abandonment, however, should not be undersrtood as a consequence of the nature’s hardness in the descripted spaces in the romance experiences, nor the consequence of the coldness that starts to spread in the nuclear family. I examine in two novels the presence of a orphanage, in other, the abandonment is the same. I examine in two novels the presence of the orphanage, and in another, the maternal abandonment, that’s it, diferente factors that define the quality of the protagonists’ existence, to the ones is aplicable very appropriately the sintagma: “borrego enjeitado”, which also can be read the works’ inner illustration. To the prottagonists it is applicable the sintagma: ‘bichos miúdos’, which regards to the way the child characters live singular experiences with the neighboor, especially with his mother. So, illustrations question these experiences among family. I hope that as soon as this study can, it assumes the importance of the child in the written text, showing the way the illustrations can rewrite the ficcion, and the figurine of the characters. / Neste trabalho de tese busca-se marcar a presença das noções de infância e de família em quatro narrativas do chamado Romance de 30 nordestino, a saber: A Bagaceira (1928), de José Américo de Almeida; O Quinze (1930), de Rachel de Queiroz; Menino de Engenho (1932), de José Lins do Rego e Vidas Secas (1938), de Graciliano Ramos. O trabalho projeta-se através de uma leitura de imagens da criança, enfocando a relação da personagem (ou do narrador quando se reporta à infância) com a família. Essa pretende ser uma outra forma de inflexão acrescentando uma nova leitura quanto à interpretação das referidas obras, vislumbradas, o mais das vezes, pelos ângulos da literatura telúrica e da de cunho social, inclusive no que tange ao aparato paratextual também representado pelas ilustrações das capas dos romances, que abrangem diferentes períodos e publicações editoriais. A década de 30 foi bastante frutífera para as artes e letras brasileiras, e as primeiras ilustrações artísticas impressas nas capas de edições dos romances surgem neste período. As ilustrações internas apareceram em edições posteriores, mais especificamente da 6ª edição em diante. Como as capas e ilustrações são “manifestações” icônicas que funcionam como “paratexto” (GENETTE, 2009), também se utilizam como corpus as ilustrações internas criadas pelos artistas Candido Portinari, Aldemir Martins e Poty Lazzarotto, que potencializam a leitura do texto literário. A pesquisa teórico-bibliográfica baseou-se na releitura da fortuna crítica dos romances, com base em Bueno (2006), Castello (1961a), (1961b), Montello (1983), dentre outros; fundamentou-se também no pensamento de Genette (2009), Lima (1985), Linden (2011), Nikolajeva e Scott (2011), autores que estudam a ilustração e sua relação com o texto literário, pautando-se, por fim, nas ideias de Ariès (2006), Badinter (1985), Coutinho (2012a), (2012b), Corazza (2004) e outros que versam sobre as temáticas relativas à infância e à família. Pretende-se verificar que, a partir das leituras de viés sociológico, é possível abrir uma outra trilha de investigação que contemple a figura das personagens crianças por meio da ideia de abandono, abandono esse entendido não apenas como uma decorrência da aridez da natureza nos espaços descritos nas experiências romanescas, bem como da consequente sequidão que passa a circular no âmbito das relações familiares. Examina-se em dois romances a presença da orfandade, em outro, o abandono materno, isto é, diferentes fatores que definem a qualidade do percurso existencial dos protagonistas, aos quais se aplica com pertinência o sintagma “borrego enjeitado”, que também pode ser lido nas ilustrações internas das obras. Aos protagonistas aplica-se ainda o sintagma “bichos miúdos”, que diz respeito ao modo como as personagens crianças vivenciam experiências singulares com o outro, especialmente com a mãe. Portanto, texto e ilustrações problematizam estas vivências entre criança e família. Espera-se assim que este estudo afirme a importância da infância no texto escrito, mostrando ainda como as ilustrações reescrevem a ficção e a figuração das personagens.

An experiment was conducted using forty-one Bonsmara steers (age ± 7 months) to determine the effect of zilpaterol hydrochloride (ZH) on the growth performance and carcass characteristics. The trial was structured using a completely randomized design with two treatments, control and ZH group. The steers were fed ZH for 28 consecutive days at the end of the finishing period and ZH was withdrawn from the diet 2 days prior to slaughter of the animals. The steers were placed in individual pens and weighed fortnightly throughout the 4 months trial. Zilpaterol hydrochloride (ZH) was included in the diet at a rate of 8.3 mg/kg of DM. Feeding of ZH increased (P< 0.05) body weight (BW) gain and ADG (1.102 vs. 1.444) and tended to increase (P = 0.067) feed efficiency (F:G) during the last month of the finishing period. There were no significant differences (P> 0.05) in daily dry matter intakes (DMI). For the control group, high treatment weight gains were significantly associated with high initial weight (r = 0.424, P = 0.049) and also high pre-treatment body weight (r = 0.678, P= 0.001). Treatment weight gain increased as the initial and pre-treatment weight gain increased in the control group. For the steers that were fed ZH, there was no significant correlation between the treatment body weight gain with initial weight (r = 0.097, P = 0.694) and also pre- treatment live weight (r = 0.393, P = 0.096). Supplementation of ZH significantly increased (P < 0.0001) the dressing percentage (56.4% vs. 58.4%) and had no significant (P>0.05) effect on the carcass weight. The outcome of the study suggest that supplementation of ZH in the diet during the last month of the finishing period enhances growth performance and shows the repartitioning capacity of the feed additive as a beta- agonist. / Agriculture and  Animal Health / M. Sc. (Agriculture (Animal Science)

The aim of this work was to show on actual example the possibilities of financing projects in the education sphere.

Hearing parents of deaf children who are reliant on Sign Language need to learn to sign to ensure communication mode-match with their children. Signing is vital for parent-child interaction, and has implications for the socio-emotional well-being and educational outcomes of the child. However, poor signing skills of parents is repeatedly reported in the literature, with the majority of children in signing educational programmes reported not to be exposed to signing in the home. Teaching parents to sign therefore appears a priority, with sign teaching strategies being debated in the literature. The learning of Sign Language as a second language by hearing parents of deaf children within the bilingual educational approach, which regards Sign Language as the first language of deaf children, raises the challenges of cross-modality language learning for hearing parents. Reports on teaching methods are mainly anecdotal with only a few studies addressing sign learning by hearing individuals. While the use of graphic representations of signs is a common practice in teaching signs, there is no empirical data on their influence on the learning of signs. This study explored the contribution of graphic representations of signs in sign teaching. The main aim of the study was to describe the impact of sign illustrations on the teaching of signs to hearing mothers. Two sub-aims were formulated to compare the conditions of sign learning with and without the use of sign illustrations in graphic displays in terms of (a) sign reception and sign production, and (b) the amount and nature of assistance required in learning signs. An Adapted Alternating Treatments Design (AATD), with four theme-based sign sets, and probes balanced for equivalence, was developed and used. Four biological mothers of three boys and a girl in a Grade Three class at a day school for the deaf in an urban area of KwaZulu-Natal, South Africa took part in the study. The results revealed no significant differences between the two training strategies for sign acquisition, in terms of sign reception and sign production post-training. There were however, significant differences between the two training strategies with regard to assistance required while learning signs. The graphics strategy required significantly less trainer assistance (p<0.05). In addition, there were significant differences in the nature of assistance provided with the use of graphic representations. Significantly fewer repeated demonstrations of signs were required by the participants during self practice (p<0.01). There was a significantly higher number of corrections with the graphics strategy (p<0.01) initially, and this decreased over time, unlike with the signing-only strategy. It would appear that the sign illustrations were redundant during the initial stages of sign learning using a multimodal approach, but that they were relied on to trigger recall of signs during the self practice phase. Thus, the study confirmed the supportive role of sign illustrations in sign learning. The use of theme-based graphic displays of sign illustrations emerged as a viable method in teaching signs. The implications of these results and recommendations for future research are discussed. / Thesis (PhD)--University of Pretoria, 2009. / Centre for Augmentative and Alternative Communication (CAAC) / unrestricted

The thesis analyzes the illustrations and author books of Daisy Mrázková directed mainly to the children readers. The thesis puts this part of her artistic work in the context of her work as a whole as well as in the Czechoslovak artistic milieu from sixties till eighties. Detailed attention is paid to Daisy Mrázková's inspiration, her childhood and education, family life and relationship with her friends, especially those from the artistic group UB 12, and their influence on her work. The work also focuses on the influence of English children literature specifically due to the artist's family origin. Her illustrations and author books are compared to the books of the contemporary Czechoslovak fellow artists as well as her teachers and schoolmates. A significant part of the thesis describes and analyzes synesthesia, both in the artist own work as well as in the work of the Czech and foreign artists.

"The purpose of this paper is three-fold: to give a brief sketch of the life of James Daugherty and the development of his art; to summarize the contemporary criticism of his work as to his ability as an author-illustrator for children; and to assemble a bibliography of his contributions to art and literature. The portion concerned with critical analysis has been limited to those books both written and illustrated by Mr. Daugherty"--Introduction. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 49-52).

Sölvesborg är en stad under expansion, dit lockas folk av en lantlig idyll nära havet. Sölvesborgs kommun har som mål att öka invånarantalet från 16 000 till 20 000 fram till år 2020. Kommunen äger fastigheten Hydro vilken är centralt belägen i Sölvesborg i anslutning till tågstationen. Idag används fastigheten Hydro till en parkeringsyta och kommunen vill att fastigheten ska planeras om för att bli en ny central knytpunkt i Sölvesborg som binder ihop tågstationen och förlänger centrumstråket. Detta examensarbete leder till färdiga förslagshandlingar för fastigheten. Koncept och handlingar tas fram utefter analyser som gjorts kring hur staden är uppbyggd och vilka intressen som finns. Detta resulteras i en byggnad som har en större kommersiell del i markplan och plan 2 till plan 11 är tillägnade med fyra stycken lägenheter per plan. Ledordet för arkitekturen har varit att försöka skapa ett nytt landmärke för Sölvesborg, föra in den moderna arkitekturen i en större skala i ett gammalt småskaligt samhälle på ett naturligt sätt. / Sölvesborg is a city under expansion, people are attracted by a rural idyll close to the sea and the municipality's goal is to increase the population from 16,000 to 20,000 until year 2020. The municipality owns the property Hydro which is located in the central parts of Sölvesborg adjacent to the train station. Today the property Hydro is used as a parking space, the municipality is interested to change the property. They want to make it to a new central hub in Sölvesborg, connecting the railway station and extend the center strip. Our work is to create concept drawings for the property Hydro, These concept drawings are based on analyzes regarding the context of the city and the city’s citizens. This has resulted in a building that has a larger commercial area in the ground floor and above the ground floor are ten floors with four apartments on each floor. The guiding principle for the design has been to try to create a new landmark for Sölvesborg, bringing in the modern architecture on a larger scale in the old small scale society in a natural way.